Disney animated films found competition when Twentieth Century Fox released Anastasia with its beautiful artwork and tuneful score. It has become the favorite of many, and like Newsies, its timing was ripe for parents that needed a VCR to put in their tape player that the kids, in particular girls, could watch over and over to keep them occupied. Even if it had Rasputin as a dead bad guy whose hands and nose kept falling off. The Broadway stage musical is based both on that animated feature as well as the 50’s live action Anastasia (same story, no moldy Rasputin).
That’s a long winded introduction, but what is on stage at the Broadhurst Theatre is lush, sumptuous, melodic, and very highly satisfying. It is one of the finest musicals of this season, even seen in preview.
Animated feature lovers need not worry – Ahrens and Flaherty’s hits “Journey to the Past” and “Once Upon a December” make it onstage intact. Some liberties (for the better) were taken with “A Rumor in St Petersburg”, and this score is augmented by two dozen new songs that are Ahrens and Flaherty at their best – unlike Rocky a few seasons back, this is a melodic and beautiful score that will send you off to iTunes as soon as it is released for download.
Terrence McNally has done a masterful job in rewriting the script so that it resembles an adult musical rather than an animated feature, and better incorporates the horrors of history in Russia at the time (1907, 1917, and 1927). He has created a new foil for Anastasia, Gleb, a party official out to insure that all Romanovs are indeed dead.
Christy Altomare is excellent as Anastasia, and she grows the character over the course of the evening and her transformation into princess for the final scenes is breathtaking. Derek Klena is fine as Dimitri, though the chemistry is far better with Gleb, played by the outstanding Ramin Karimloo, and if you don’t know who he is then you better do a Google search because your musical theater knowledge is lacking. John Bolton is exquisite as Vlad, and uber-talented Caroline O’Connor is outstanding as Countess Lily once the proceedings reach Paris. Mary Beth Piel does a very nice job as Dowager Empress (although her song in Act 2, “Close the Door” should be cut).
But where this musical excels is in the superior sets and costumes (and projections). It has been many years since Broadway has seen a musical this lush and sumptuous. I stopped counting Linda Cho’s amazing costumes and changes. The clothing is stunning, and the “Last Dance of the Romanovs” (later reprised in the ghostly and heartbreaking “Once Upon a December”) is breathtaking.
Scenic Designer Alexander Dodge and Projection Designer Aaron Rhyne have created the type of set that makes you ooh and ahh at many points — a train that hurtles along the tracks toward the audience, and then later away. A turntable that allows for almost instant scene changes. Windows that display snow, and shatter during attacks, and a marvelous reveal of Paris at the end of the first act.
When everything reaches Paris for act two, the show comes alive with life, primarily led by singer dancer Caroline O’Connor and John Bolton.
If there are flaws they are hard to spot here. The show flows beautifully from scene to scene, costumes come one after the other, and the set holds surprises throughout. The addition of Gleb is superb, and I have to admit that I was truly moved by the love triangle created by Gleb/Anastasia/Dmitri.
This is a musical not to be missed. It is one of the most satisfying all-around musicals of the season.
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